EFAP is the (free) film school that keeps giving.
I re-watched their video on the Marvel symphonic universe as I was laying in and playing with temp tracks last month as I get closer and closer to picture lock.
And I’m actually using some temp music from Transformers, which is mentioned in the video. Why you ask, would a micro-budget single-location dark satirical comedy want to use tracks from Michael Bay’s Transformers? Well, you’ll just have to wait until it comes out…
BUT, this time I also watched a really great response video about how yes, the big action franchises do use a lot of temp music and steal from each other, but, shocker, everything is a remix and directors have been doing this forever (but also – digital compositions favor certain sounds and arrangements).
I’m doing my best to not fall in love with my temp score and hoping to hand off the project to a composer clean, without any score.
From Peak California:
For a city to have a thriving arts scene, you need some combination of:
1. Families or nightlife, both of which produce demand for reasonably educated workers who work non-traditional or variable-schedule jobs, either as babysitters or bartenders.
2. Cheap neighborhoods that aren’t unsafe. My current neighborhood, Williamsburg, fit this role ten years ago.
3. Upside, either in the form of selling out or marrying someone with a boring but lucrative job.
For those that upload either episodic video shows or individual titles through Prime Video Direct, the program pays out royalties at set rates based on the aggregate hours viewed per title. In the U.S., Amazon paid between 6 cents and 15 cents per hour viewed in 2018; a similar sliding scale also exists for other Amazon markets the PVD program is offered including the U.K., Germany and Japan, according to a rate card.
Starting in April, Amazon is implementing changes to its U.S. rate card that will drop prices to between 4 cents and 10 cents per hour streamed, according to an email sent to Prime Video Direct account holders obtained by Digiday.
So let’s say you make an indie film and you get 100,000 hours of streaming (50k people watch a two-hour film) at 8 cents per hour. That adds up to $8,000.
It’s tough out on the long tail.
The Golden Age of Television is back, in movie form.
More from Lost in the Cosmos:
But what is not generally recognized is that the successful launch of self into the orbit of transcendence is necessarily attended by problems of reentry. What goes up must come down. The best film of the year ends at nine o’clock. What to do at ten? What did Faulkner do after writing the last sentence of Light in August? Get drunk for a week. What did Doestoevsky do after finishing The Idiot? Spend three days and nights at the roulette table. What does the reader do after finishing either book? How long does his exaltation last?
He gives several (slightly tongue-in-cheek) options, including suicide, sex, and alcohol. But also, travel or moving:
The self leaves home because home has been evacuated, not bombed out, but emptied out by the self itself. That is, home, family, neighborhood, and town have been engulfed by the vacuole of self, ingested and rendered excreta. What writer can stay in Oak Park, Illinois? One leaves for another place, but soon it too is ingested and digested.
Yeah, thinking of leaving myself.
The difference between Einstein and Kafka, both sons of middle-class middle-European families, both of whom found life in the ordinary world intolerably dreary:
Einstein escaped the world by science, that is, by transcending not only the world but the Cosmos itself.
Kafka also escaped his predicament–occasionally–not by science but by art, that is, by seeing and naming what had heretofore been unspeakable, the predicament of the self in the modern world.— Walker Percy, Lost in the Cosmos
I didn’t love this book, which I found through Austin Kleon, but I did love the chapter on escaping the self and re-entry problems.
noun. role-playing as someone who doesn’t have technology, e.g. intentionally not looking up the answer to a question amongst a group of friends because it’s more fun to try and remember the title of a movie.
Just when you start thinking “I’m really getting a handle on this movie-making thing” there’s another whole field of study and skill to learn.
I’m working on a marketing plan for my (still unnamed) feature film. It’s really hard, despite the fact that I’ve been working in ‘marketing’ as a day job for the past ten years or so. Or so I thought.
I realized, while reading Seth Godin’s new (and fantastic) book This is Marketing, that I haven’t really been marketing. I’ve just been working on tactics. SEO, paid search, advertising, analytics.
In the past couple weeks I’ve been thinking about the story of the film, how to talk about it in a way that resonates with people, that creates tension and makes them want to see it. And about the stories that my target audiences tell themselves, how they view the world, what they care about, why they choose to watch one movie or another, and why they tell their friends to watch a movie (or not).
The irony is that I think about that all the time when writing screenplays, how to create suspense and tension and create the feeling of “what happens next?”. It’s weird how bad we are at applying what we know in one domain to another.
“There is in New York tonight a black woman molding clay by herself in a little bare room, because there is not a single school of sculpture in New York where she is welcome. Surely there are doors she might burst through, but when God makes a sculptor He does not always make the pushing sort of person who beats his way through doors thrust in his face. This girl is working her hands off to get out of this country so that she can get some sort of training.”“Criteria of Negro Art” by W.E.B. Du Bois, via Kottke.org.
Who is making films?
Is it the most talented or those with the most to say?
Or is it the pushing sort of person who beats his or her way through doors?
There’s a lot of good to be done by encouraging and helping the non-pushing sorts of people (with something to say) to get going and generate some forward motion.
God I love this short:
It’s like when people say “shorts should really be under 15 minutes, unless…”
This is the unless.
The cut back to the guys struggling with the mannequin is magic.